Drum Programming Masterclass, Part 2: Samplers & Sequencing | Jason Allen | Skillshare

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Drum Programming Masterclass, Part 2: Samplers & Sequencing

teacher avatar Jason Allen, Music Producer, Composer, PhD, Professor

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

    • 1.

      Welcome & Introduction


    • 2.

      About Me


    • 3.

      Tools (I'm going to be using Ableton Live, but any audio program will work!)


    • 4.

      Review: How To Read Rhythms


    • 5.

      Review: The Basic Beat


    • 6.

      Why Work With Samplers


    • 7.

      Hardware Drum Machines


    • 8.

      The basic outline of a Sampler (in Ableton Live)


    • 9.

      The basic outline of a Sampler (in Logic Pro X)


    • 10.

      Advantages of MIDI


    • 11.

      Note On/Off


    • 12.



    • 13.

      Setting up a MIDI Track


    • 14.

      Back to the basic beat


    • 15.

      The Basic Drum and Bass Pattern


    • 16.

      Analysis: John B - Up All Night


    • 17.

      Analysis: Sub Focus - X-Ray


    • 18.

      Analysis: Konflict - The Beckoning


    • 19.

      "Playing it in"


    • 20.

      Quantization and Settings


    • 21.



    • 22.

      Recording Controllers


    • 23.

      Ableton's Groove Settings


    • 24.

      The basics of Dubstep


    • 25.

      Analysis: Skrillex - Scary Monsters and Nice Sprites


    • 26.

      Analysis: Flux Pavillion - I Can't Stop'


    • 27.

      Analysis: Flux Pavillion - The Drop Section


    • 28.

      Adding some life with effects


    • 29.



    • 30.

      Delay Effects


    • 31.

      Reversed Sounds


    • 32.



    • 33.

      The basics of Trap


    • 34.

      Analysis: Gent and Jawns - Turn Up


    • 35.

      Analysis: The Drop - Bro Safari


    • 36.

      Dynamic Effects


    • 37.

      Ghost Notes


    • 38.

      Noise Risers


    • 39.

      Volume for Variation


    • 40.

      Coming Soon!


    • 41.

      Wrap Up


    • 42.

      Bonus Lecture


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About This Class

**  Courses by this instructor are consistently listed in Top Selling Online Music Courses.

This is a class designed for music producers who are ready to get serious about drum programming. The art of programming drums on a MIDI grid, in drum machines, or with audio files can be tricky to master but when you finish this class, your tracks will have the extra energy that comes from professional drum tracks.

Dr. Allen is a professional musician, top-rated online instructor, and university professor. In 2017 the Star Tribune featured him as a "Mover and a Shaker," and he is recognized by the Grammy Foundation for his music education classes. 

I'll be using Ableton Live and some Logic in this course, but it will be easy to following along on whatever program you are most comfortable with. We will start the class off with an explanation of working with samplers and working on the MIDI grid. Then we will learn to adapt that pattern to work for a number of different styles, including Drum and Bass, Trap, and Dubstep.

DRUM PROGRAMMING MASTERCLASS, PART 2: SAMPLERS & SEQUENCING is a comprehensive class - that means there are three (3!) different classes that together make the complete sequence. This is Part 2.

Also in the class, we will be doing a number of analysis projects. That just means we will load up some tracks, and re-construct the beat in the track. Doing this will help us to see how those beats are built and guide us in making our own beats.

Topics include:

  • Tools of the trade

  • Where to find good, free, samples (My favorite sites!)

  • Tools of the trade

  • Why work with samplers?

  • How samplers work

  • The classic hardware samplers: The Roland 808

  • Note On, Note Off Issues

  • Velocity

  • Drum and Bass patterns

  • "Playing It In"

  • Quantization Settings

  • Controllers

  • Recording Controllers

  • Using Ableton's Groove Settings

  • Dubstep Patterns

  • Using Effects in a Drum Pattern

  • Filtering

  • Delay Effects

  • Reversed Sounds

  • Pitch Shifting

  • Elements of Trap

  • Programming Trap Beats

  • Dynamic Effects

  • Ghost Notes

  • Noise Risers

  • Humanism

  • ... And much more!!!

Analysis Tracks:

  • John B: Up All Night

  • Sub Focus: X-Ray

  • Konflict: The Beckoning

  • Skrillex: Scary Monsters and Nice Sprites

  • Flux Pavillion: I Can't Stop

  • Gent and Jawns: Turn Up

  • Bro Safari: The Drop

You will not have another opportunity to learn Beat Programming in a more comprehensive way than this. Start here.

The course is a roadmap to MAKING STUNNING TRACKS with better drums.

All the tools you need to produce great drum tracks are included in this course and the entire course is based on real-life experiences - not just academic theory.

Please click the "Take This Course" button so you can start making better beats today.


Praise for Courses by Jason Allen:

⇢  "It seems like every little detail is being covered in an extremely simple fashion. The learning process becomes relaxed and allows complex concepts to get absorbed easily. My only regret is not taking this course earlier." - M. Shah

⇢  "Great for everyone without any knowledge so far. I bought all three parts... It's the best investment in leveling up my skills so far.." - Z. Palce

⇢  "Excellent explanations! No more or less than what is needed." - A. Tóth

⇢  "VERY COOL. I've waited for years to see a good video course, now I don't have to wait anymore. Thank You!" - Jeffrey Koury

  "I am learning LOTS! And I really like having the worksheets!" - A. Deichsel

⇢  "The basics explained very clearly - loads of really useful tips!" - J. Pook

⇢  "Jason is really quick and great with questions, always a great resource for an online class!" M. Smith

Meet Your Teacher

Teacher Profile Image

Jason Allen

Music Producer, Composer, PhD, Professor


J. Anthony Allen has worn the hats of composer, producer, songwriter, engineer, sound designer, DJ, remix artist, multi-media artist, performer, inventor, and entrepreneur. Allen is a versatile creator whose diverse project experience ranges from works written for the Minnesota Orchestra to pieces developed for film, TV, and radio. An innovator in the field of electronic performance, Allen performs on a set of "glove" controllers, which he has designed, built, and programmed by himself. When he's not working as a solo artist, Allen is a serial collaborator. His primary collaborative vehicle is the group Ballet Mech, for which Allen is one of three producers.

In 2014, Allen was a semi-finalist for the Grammy Foundation's Music Educator of the Year.

J. Anthony Allen teaches... See full profile

Level: Beginner

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1. Welcome & Introduction : Hey, everyone, welcome to drum programming part to, uh, samplers and sequencing. So in this course, we're going to be building on where we left off in the first course, and specifically we're going to focus on using samplers and the medieval, and you can use whatever software you want to in this course I'm gonna be using mostly able to live a little bit of logic. But the concepts that we talked about here will apply Teoh just about any audio program so you don't need to be using able to We're gonna talk about how samplers worked. The differences between using samplers to trigger drum samples and just placing the audio files on the grid like we were doing in the last class will also dive into a number of different genres. Kind of continuing the tradition that we started in the first class. Specifically in this class, we're going to spend time building drum and bass patterns, uh, dub step patterns and trap patterns. So we'll dissect a couple songs, will look at how those worked, figure out how to make some of our own music in that style. And general, just keep on practicing, making really great drum patterns and beats. I hope you had to join us. It's gonna be really fun. Class. I'll see you on the inside. Auto mapped. We say the mapping will be set up automatically with a drum rack. Usually not always, but most of the time. So, uh, I'm gonna record a little beat, so I'm gonna do what I did before. Now, I want you to notice one thing. Delay on it. Let's put it just on the high hat here, Okay? So in order to do this, we're gonna put our delay actually onto this return track. Okay, so now I have a reverb and a delay. Let's just turn that reverb off now. I'm not gonna need it. Just want this delay. When we think about dub step, we might be thinking that we have this really bombastic sound, but ah, lot of that is in the bass drums are actually relatively simple. Let's go up to where the drums really kick in 213.3. That's the 2nd 8th note of the third. Beat eso instead of right on the third beat. We're gonna push it back a little bit on my snare I'm gonna leave right where it waas. That's yet. So one thing I should mention there are tons of different ways that you can come up with the drum and bass beat. Right? There are a lot of different ones. There's not just one. This is a very basic drumming, basically. Okay, okay. All this stuff down here is the same for bar pattern. And I'm, uh, got kind of frantic high hats going all over the place. Let's see what we got. 2. About Me: All right. Welcome to drum programming, too. Uh, I thought we get started this time with Let's just dive in. And look, it's just one track by me. Um, this isn't a class. It's gonna be all about me. But I do like to show a little bit of credibility. Um, so I have a number of albums out. Um, and I thought I just play you one track from this one. This is the most recent full album I put out. And I think at the beginning of drum programming one, we looked at this track circadian. So I thought, Let's look at this one. Um, just a little bit something different. I think if we get time, we can look at the full session for this track later in this class because it has a fairly complicated beat to it. So we'll see if we could work that in, but just to get us started. Here's a piece of music. Enjoy it. 3. Tools (I'm going to be using Ableton Live, but any audio program will work!): Okay, Just a quick reminder before we get into the nitty gritty as it were that, um, you can use whatever software you want for this course. There's a lot of different options I'm going to be primarily using able to live, which is this program primarily in this view. But you can use whatever you want. This is not unable to in live course. So if you want to use something else, for example, this is logic. Really. All the elements that we're talking about here work the same. We're talking about the timeline we're talking about midi sequences, talking about samplers. Ah, whenever something isn't universal all pointed out. But otherwise everything I'm gonna be talking about can be done on just about any program. Whether you're in able to live logic, pro tools, fl studio, Um, I don't know, name one of the other ones. Everything really works the same in all programs when it comes to the majority of the content in this class, once we get into talking about samplers and how they work, there will be a couple differences between the different programs. But we're not gonna be focusing on how to use able to live. This is about drum programming, and it pretty much works the same on all platforms. So just keep that in mind, okay? Onward. 4. Review: How To Read Rhythms: Okay, let's do Ah, really quick review before we move on to the new stuff. I just want to review two things. Two things that we talked about in the previous class. These are going to be, ah, how to read rhythms on the sequence or grid and the basic beat. So first, how to read rhythms on the sequence or grid. So if you remember these numbers at the top, that's really what we're talking about here. When we talk about reading rhythms when we have a number, that means bar one when we have a number of point. Another number. That means Bar one beat, too. And we have three numbers for Zoom in. Farther we'll get three numbers, like right here. Bar one beat three second 16th note. So that's how you read those. Now, that last number, the 16th note can be a little bit different in the different programs. Um, they could treat that last digit is slightly different, but most of the time it's gonna mean 16th note. Okay, so in most beats, we don't need to go in any deeper than that. But you can. You can go in deeper and see 32nd notes and all that stuff, but shouldn't really need to. So what I have here is ah, snare a kick and a high hat, and my snare is on bar one. Beat one. If it doesn't give you appoint one thing that means, uh, beat one. Uh, my kick is on bar one, beat two, and my high hat is on bar one. Beat three. Cool. It sounds like this. Okay, Not crazy. Interesting. But don't worry. We'll get there. We could go all the way up to right here where we see just this too, right? This two means bar to So we have four beats in a bar. Okay. And remember that 3rd 16th note is always halfway through the beat. That's the eighth note. If you're thinking in kind of traditional music terms, the 3rd 16th note and the eighth note are the same. If that is confusing to you, don't worry about it. Um, it's not gonna matter for our purposes here, so that's basically it for just how to read those. Uh 01 less thing. Always remember, super important that when you're putting samples onto a grid like this, you're getting right on the line. Okay? You don't want to be in between, uh, the lines you want to be dead on it, at least until we start playing around with the feel and all that stuff that we might start moving stuff off the grid. But for now, you want to be right perfectly on whichever line you're intending to be on. So if I want to be on bar one, beat 3/3 16th note, I'm gonna find that line going to be sure that I'm right perfectly on it. My program is set up to snap right to those lines. Um, if I zoom way in, I can get off of it, and then I zoom out. And now I'm actually not right on that line. There's the line, and I'm off it. That's gonna cause problems for you, so make sure that you are right on those those grid lines for wherever you want your sample to be. Okay. That is the number one way that I hear beats getting all like, weird and strange because people aren't really strict with staying on those grids. Okay, so let's go to a new video and let's talk about the basic beat 5. Review: The Basic Beat: Okay. In the last class, we talked about making the basic beat and how we could make a lot of beats from that beat. So let's remake that just to kind of refresh our memory on where it is. What we're gonna do is we're gonna start with our kick. And remember, there was a couple different variations of this, but let's do this simplest one. So we want to kick on one and three. So bar one, beat three, bar one beat one Market goes. We want our snare on to and four and we want our high hat on one to three and four. Okay, The world's most basic beat loop That and this is what it sounds like. OK, not amazing, but not terrible. I could spruce it up a little bit by doubling up my high hats. So put two of these per beat, so on beat one. And the halfway point, which is the 3rd 16th note of every beat, gives it a little bit more energy. Oops. And then the third variation we talked about is getting rid of the hi hats that are right on the beat, but leave the off beat ones which is that 3rd 16th notes I have. This gives it also a lot of energy, but kind of in a different way. Cool. So that is the basic beat and a few variations of it. Ah, well, come back to that over and over as we build our own patterns, especially when we're looking at the different styles of drum programming throughout this course. So now that that's fresh in your head, let's move on and let's talk about working with samplers. 6. Why Work With Samplers: so, so far, we've worked with audio and plugging in audio effects are sorry. Audio clips to the timeline, how we want them. Right? But what we're going to look at now is working on the midi grid, and we're gonna start by working with samplers. So if I make a new many clip here, stretch it out and I have a sample loaded here of a pan drum. So this is a sample. So a sampler holds an audio file, right? So whether or not we put this audio file directly onto the grid or if we just put it into a sampler, we're effectively going to be hitting the same part of the same file, right? So there's no real difference in the quality of the sound, But look at how I can trigger it, right? I can look at it in terms of notes, which might be good or bad, depending on your experience level with notes. But I can plug in some notes and I can hear this. Well, I'm doing it if I turn this on. Okay. Okay. So it sounds like smooth, But while we're working on this, I can shorten these notes e I can't add more notes. I can add more harmonies, do faster notes. So I have a lot more control over over where I put each note and how I put it there. So it can be a lot easier now. I also lose a little bit of control, and then I'm not working directly with the audio file I'm working with, you know, the MIDI grid. So it's a little bit different, but, um, in most cases you have more control and there's more flexibility. Uh, and it's just easier to read, so we like working with samplers in this way. There are some other reasons that will come across later as they come up things like velocity and effects. But until then, let's jump over and start talking about, uh, what a hardware drum machine looks like. 7. Hardware Drum Machines: Okay, so let's look at a classic drum machine. So this is the Roland tr 80 wait. This is kind of like if if you asked a lot of people Hey, man, draw me a picture of a drum machine. This is what they draw. This is the kind of most iconic thing we have when it comes to older physical drum machines . Not software physical. This is a real box that you can buy. You can still buy them. They don't make them anymore. Although Roland does make one. That's kind of Ah, modern adaptation of a tr Aito. Wait. Um, but this is the classic. The the original ate away. So I want to just look at a couple of things and then show you how these compare to the more modern software instruments that we use that are really kind of designed to replicate some of this. There are some software you can get that's really designed to replicate some of this, um, reason the software called reason. Does a very close job of replicating some of this stuff. Um, making their interface look the same as the 80 wait. A Bolton doesn't look the same. But if you pick it apart, it can be really similar. So check it out. We basically have to different things here. We have this stuff down here and we have this stuff up here. Okay, So what we have up here is up at the top section. We have each sound. So here's our bass drum sound are snare drum sound are Tom's Ah, rim shot cow bell symbol, etcetera. Right. So let's look at our base drum. So we have a number of settings for that sound. And that's what's up here in the knobs above it. Here, snare drum. We have some settings for it. Okay, so these settings are to craft the individual tone of the sound. The settings down here are they control the individual rhythm of the sound. So where those notes happened, right? So these are the sounds, how to make the right sounds. And these are how to make the rhythms. If we go over to a program like a Bolton here, I have the impulse that we'll talk a little bit about later. But what I can do here is I can load some samples into that. So let me just do like a kick. Here we go. So here's the kick. Um, and let's do a snare just to make this a lot. Okay, there's a snare. Okay, so I have two samples kicking a snare. So after I've clicked on the snare, all of these controls are going to apply to this snare, except for really these ones. But it's kind of the same as when we looked at the 80 wait. I'm controlling all of the parameters of the tone of that snare. If I click over here now, I'm controlling all the parameters of the tone of the kick. Right. So it's really similar to that top section of the 80 wait, that we just looked at. Now, where do I control the rhythms? Right. The rhythms are in the midi grid. So this is where our rhythms are, right? So if I want to make kick, kick, snare kick, that's what I've just done here. Right? So, uh, our rhythms being controlled on the midi grid. Now that gives us more flexibility. Perhaps we can We have a lot more notes we can put in there. We have a lot more control, but All of that is to say we're really kind of emulating what we were doing way over here in the eight. A weight and a bunch of similar machines. I'm just using it away. It is an example. There are a lot of machines that we're quite similar. So that's kind of what this all goes back to. Um, playing with these old machines can still be really, really fun if you get your chance, Teoh, Uh, get your hands on one of these. I take it they're great. And if you find one in an old pawnshop and you can get it for a couple bucks by it, send it to me. Um, because I really want an actual hardware unit of one of these. I don't actually own one. I wish I did, because they're fun. So that's kind of what we're talking about when we're working with samplers here. 8. The basic outline of a Sampler (in Ableton Live): Okay, so let's look a little more detail about how these devices work. Now, this one is the able tin impulse. This is designed to be kind of like a classic drum machine like we just looked at. But, um, I want to use this one to kind of show how we're going to be working with samples here. But if you're working in a different program is totally okay, you probably have a device or an instrument that works really similar to this. Okay, so maybe we'll look at how to do this in logic in just a second, because I have logic hero cued up. But first, let's start with the able to an impulse. And again, you probably have something in your own program that looks really similar to this. Okay, So, like I just said, we can load different samples here. Okay, so we can have probably 812345678 eight different sounds loaded in this particular device. Other things other devices we can use will hold more than eight, but eight is kind of the standard. So let's take a look at this kick drum. Okay, so let's craft this sound a little bit better. So I threw a kick sample here. But this kick actually has four different kicks in it. So and we can kind of hear the 2nd 1 coming in right at the end, right? Because it's just playing the beginning of that sample, and then it's fading it out. So I wanted to fade out a little bit faster to get that extra thing out of there. So down here, I can adjust the start position where I want when I trigger this sample where I wanted to start, Do I want to start at the very beginning, or do I want to roll that back? In this case, I do want to start the very beginning, so I'm gonna leave that at zero milliseconds. But I wanted Teoh end a little bit quicker. So we go back here and make that decay bit shorter. Okay? Too much. I'm just hearing the very, very beginning of it. Here we go. Okay, now, I'm not hearing the end of it. If I crank this up, I'm gonna hear a ton of extra stuff, right? I hear all these extra notes don't want those. I'm gonna trim the end of it back to write about their Now I just hear what I want. Okay? Other options we have down here I can transpose it. So if I want a little bit lower sound for way low, that's kind of too useless. Gonna make it higher, right? I'm gonna like that right about where it waas Hey, I can stretch it to slow it down. Kind of a sound. Um, I could turn on drive. A little bit of distortion if I turn this on sat means saturation here. You can put a little bit of ah Q on it frequency and residents if I want to turn that on. Um, I don't think I need that here. Decay panning is gonna be our left and right spread of it and volume. I could just boost the volume up if I want to make it louder, which is gonna clip it so we don't really want to do that in this case, But if you had a really quiet sample, you could boost it a little bit there, Okay? And then we've got velocity and some other things that weaken use for triggering. That's not worry about those quite yet. Okay, so now if I want to go over to the snare, look at what happens in my decay here. So I'm unlike kick. When I click over to the snare, the decay goes all the way back up. The reason for that is that all of these controls depend on what you clicked last. Okay, so when I'm over on my kick, the decay was set to their Everything else is pretty much the same. I go over to my stare a decade goes back up because these are all separate for each sample that you've clicked on. So if I set this way down here, then I go over to my kick. That's where I left it for the kick. That's where I left it for the snare until they're independent, depending on what samples you clicked on. So let's move that back up. Let's hear our sneer. It's pretty good. I feel like there's a little bit of a delay when I click to play the sample versus, but I actually hear it. So let's move that up. Just a hair too much. Now I've lost a little bit of the sound of the beginning of it. That's pretty good. That's good. Okay, great. So I can adjust. Whatever I want here is Well, so remember all of this stuff is going into crafting the sound of the sample. Even though we're dropping in an audio file into the sampler were not done with it. When we do that right, there is still some crafting, weaken do of the sound to get it a little more how we want it. And then again, we're going to go up here to actually put our drums together. Okay. Pretty boring. Beat will make that more interesting in just a minute. Don't you worry. 9. The basic outline of a Sampler (in Logic Pro X): Okay, let's take a look at logic. So I have a different one here in logic, and this is kind of set up to be more like a NATO weight. In fact, they even call this patch Boutique 80 wait. Um, so this one we don't get direct control, or we don't get as much control over the samples. But like a NATO eight, we have some parameters for the kick snare. Hi. Hat. Miscellaneous percussion. Some more. Hi. Hat kicks there. So each vertical strip here is snare stare effects. High hat high had effects, so we don't get as much control over the sound. Um, but we can still kind of hear it. So I programmed in the same, uh, drumbeat as we had before, even though it's super corny. But, you know, I wanted it to be apples to apples here so we can control some of sounds. I'm not sure why they're all moving together. Probably one of these settings, but then we have some more controls over here. We just have ah, main e que for the whole thing. But it works similar, right? We have controls of the individual sounds, and then we're going to actually program when those sounds hit by going into the MIDI editor. Right, So here it is. Right. So kick stare. So really similar to how we were doing it in the first class with audio samples. Except now we have these little ticks. And we have I guess you could say a little more control over the actual sounds because we get those settings. Okay, So up next, I want to talk about working on the mini grid a little bit more, and thats works That's different than working with moving around individual samples like we were doing before in the first class. Cool. And then we'll get down to the nitty gritty of programming in some good drum sounds. So let's talk about working on the MIDI grid and a little bit more detail. 10. Advantages of MIDI: Okay, so let's talk about working on the mini grid a little bit. Um, first, I want to talk about a couple advantages on why working on the grid can be better than moving individual samples around like we were doing before. It's not always better, and you don't have to do it this way, but, um, it does get you a couple of advantages. And the 1st 1 I want to talk about is what happens when we start to play with the tempo. Um, and this could be a little complicated, but stick with me. And I think, um, I think you'll you'll understand it. So I have the same beat set up here in two different ways. Here it is on the MIDI grid. So let me solo that one. It's already solo. Okay, so that's triggering samples through a sampler. Ah, with Midi notes. Okay. And here it is, as two separate tracks of audio, kick and snare. And I've used slightly different, um, audio samples here, so don't worry about the way it sounds. It's gonna sound a little bit different. Um, but that's not what we're what I want you to focus on here. Okay, so same with them. Everything is pretty much the same, right? No. What happens when I start to play with the tempo? OK, so I'm going really slow here. Let's go up to a normal tempo here, like 80. So I've I've built these as 16th notes, which was a little silly, but everything's going pretty fast. Okay, No, here's the trick. Let's see on the MIDI grid, remember that each of these notes is just triggering the sample to play. Okay, so let's focus in on the snare here. In fact, let's just delete the, um, kick. Let's just think about this. So let's hear just this one, Okay? We have a nice, crisp snare. Even though we're going really fast. Let's take it really slow, like 20. It's a slows it. Let me go. Okay. Still have a nice scripts. Crisp snare. Okay, now let's listen to our audio file that's just being played on the timeline. If we go up nice and fast, Okay. Nice waste. It's not quite as crisp. Why? The reason is there's a difference in the way that this sent the sample is being handled here. Here. When we slow down the tempo. It has to play this whole audiophile slower. Right now. It keeps the same pitch because our software is really smart and it knows how to do that. But it still has to play the whole audiophile. Even this stuff out here, slower in order to accommodate the new tempo up here, it still plays the file at the same speed as before. It just triggers it at a different spot. So this one is not altering our file. It's just telling it, Turn on that front right there. So it's a nice, crisp snare sound, and it's not stretched out in the way that this one is. So if you're going to be doing a lot of experimenting with tempo and moving tempo around, this is a better way to go, right, because you're gonna maintain the audio quality of your samples a little bit better. They're not gonna be all stretched out to say that one more time. In a way, that's maybe clear this audio sample when we're working on a MIDI grid. All we're doing is telling the computer when to play the sample, so if we slow down our tempo, it's just telling it to play that sample a different spot. It's not telling the sample to play slower. That's what this is doing. This is telling it. Go through the sample slow are right. This one is saying, Play that sample just as crisp and nice as before. But just it's not telling it to do that until a little bit later, because we're going slower, right? Um, you can think of this as well. We'll talk more about that in just a second when we talk about note on and off issues about how MIDI deals with longer notes and triggering samples. In fact, let's jump to that right now. 11. Note On/Off: Okay, so I want to talk here about the kind of note on message. So this is gonna this the to think about note on is a little technical, and you don't really have to worry about it. But it does help Understand this point about how the samples are being played and why you might want to do one over the other. Check this out. What's gonna happen now? Okay. So I am telling the snare sample to play, and I'm giving it a really long note. What's the MIDI going to do? Right? Solo. This one Take a guess isn't going Teoh. Stretch out that note. Um, is it going to play it multiple times over the duration of this? To say this another way, what's the difference between this and this when it comes to MIDI? Right. So here's this run up. Okay. And here's this. The answer is, Midi doesn't care. Maybe doesn't care how long this thing is, because what this bar is telling the computer to do is right at the beginning of it. It's saying, trigger that sample like press play on that sample. If we go over here, that means hit this button boom. That's all that means. All of this stuff out here doesn't really mean anything and midi Okay, so whether it's short or long, it doesn't really matter. So that means that when we're going really fast at the beginning of this bar, it's saying, Play that sample when were going really slow. When it hits that bar, it's saying, Play that sample. It's not stretching it out or doing anything different. It's just telling right at the beginning, Play that sample, Okay, so the length doesn't really matter. So the reason I mentioned note on before is that technically, what's happening is midi is sending a message right here that says note on play that note and in a sampler, the duration isn't gonna matter. It's just gonna play it till the sample ends, right? Uh, if we were using a synthesizer, the length year does matter, because that note has to get turned off and note off happens back here. Okay, how about this? What's gonna happen if I do this and I start playing it right here? What are we gonna here? Nothing until it circles back around, right? What if I start during a mini note the computer doesn't know what to do because it didn't get the note on the note on message happens at the very beginning of this of this bar, right? So if I started anywhere else in the beginning, it says, I don't know. I don't know what I'm supposed to do here because my no down messages over here and you started over here. I missed the note on message, right? It will get it when the loop circles back around. There's a note on message. But if we started halfway through a note on message, it doesn't know what that is because it missed it. It's on Lee at the beginning. That's our note on message. No, the rest of this matters in a sampler. But remember, in a synthesizer which is playing individual notes does matter now. Uh, if you're working in a Bolton, you can actually tell it Teoh pay attention to know dons at any point in the track, and I actually had to turn it off to do that little example. If you go upto options and then um, chase midi notes, you leave that on, and now it actually will play the note If you start not at the beginning. It'll kind of guess where the note on is. So it'll start playing the note if you're halfway through it. If you have that chase Midi notes on, but don't about that. The point is the main message comes at the beginning of one of these bars. So if we're going slow, it just gets that message at a different spot for going fast. It gets the message sooner. How fast you go. 258 PM Everything is going to sound the same. It's not gonna stretch or work that sample because the node on message happens, and all it says is play that sample. That's it. But if we're down in doing this kind of a thing, the quality of the sample is going to change slightly at least a little bit differently, depending on so it sounds a little bit different. So that's one of the big advantages of many. That also means you can generally trigger things faster. If I wanted to do this like, let's say I wanted to do like a big, huge snare rush, just trigger a whole bunch of snare notes really fast, like this is gonna be insanely fast. All of these near notes Let's not be so insane about tempo theme. Okay, now we're going at 20 bpm again. So, um, it's a little easier to deal with really fast rhythms when you're working with Okay, so a couple things about working with many Let's talk about velocity next. 12. Velocity: Okay, let's go back to a less crazy example here. So let's take just a, um, normal little beat here. I'm gonna stretch it out a little bit. Make it bars. Okay. Now, first of all, why did I shorten this, right? Like it doesn't matter. So why did I make it nice and short just because it's easier to see my rhythm that way. So I like these nice and short. Um, this will sound the same, but sometimes it's a little bit easier to see the rhythm. You just make them sit on the grid. Nice. Um, what I want to talk about here is velocity. So velocity is what we call volume when we're working with MIDI. Okay, So remember up here, if we wanted some of these notes to have a different volume, what we have to do is draw in our volume to do this kind of a thing, right? So that's what this one's gonna be a little quieter. Let's do this and that. Right. So now this kick is louder, thin. This kick, that's when the volume goes down. We do it in the timeline like that. Admit e. It works a little bit different. You could still do that enmity. But we can also just used these little ticks at the bottom. We can draw in the volume of each note. So here, this one's gonna be loud. Let's make this quieter. Let's make this quiet and this loud, right? So it works a lot easier that way. You could also, once you have a lot of notes, just draw in what you want your velocity to do. And it's kind of scribble and get a little bit more control over it that way, so it could be much easier to deal with philosophy in this format. 13. Setting up a MIDI Track: okay, Before we get too much further, let's just make sure we have one important thing down and that is that how to create a MIDI track. Now, you might be thinking I know how to make a midi track. I just, you know, make a new mini track, and whatever software I'm using, that is true. However, keep in mind that whenever you make a meaty track, what you have to do is make the track. So I just made this one, and then you have to put an instrument on it, okay? And that's gonna be true. And any software, right? So a mini tracked by itself. If you just start playing your keyboard after you've made a MIDI track, you're not gonna hear anything unless maybe you're in GarageBand or something like that. But if you're in any kind of program, you need to make a MIDI track, and then you need to put some kind of instrument on it now and able to and I have this instruments tab you might in your software. It might be called plug ins might be called devices something like that. But we have to put something on the midi track in order for it to make sense. So I'm going to put here. Let's put sampler on it. And now I can play the sample once I put a sample in it. But I have to put something on the midi track. Otherwise nothing's gonna happen. Okay, so in a Bolton, how we do that is we just drag the instrument that we want onto the midi track, and then we're good to go. Your software may vary if you're not using a built in, but most of them work in some kind of similar way to that. 14. Back to the basic beat: Okay, let's dive into actually making some music now. So in the last class, we made a bunch of different types of beats, and we did it by moving the audio files around case. So now we're gonna use it doing using the MIDI grid, like what we've been talking about. So let's get set up. First of all, I need a MIDI tracks. I'm gonna use this media track that I just made a fact I could delete these other ones. Cool. I could even delete this. All I need is one track case. So now I'm gonna loden instrument into it. I'm gonna wrote load a drum rack. Okay, So if I drop this there, what you're going to see is something that looks kind of like that old 808 thing what we have here. Just focus on this part. What we have here is each of these are individual drums sound. I can play it just by hitting this. All right, so here's my kick collapse. So So I have all my drum sounds here. Now, when I go to make a midi clip and whether or not you're in session, view our arrangement view and live doesn't matter at all here. We're just gonna make many clips right now. So here I can see the names of all of my sounds Rightly kick glass snare clap Club Tom. Hi, Hat, etcetera. So if you're indifferent, program it look slightly different but basically will work the same. You won't have something called a drum rack in another program, but you'll have a drum sampler or drum synth. Or if you're in logic, look for ultra beat. Um, something like that. So let's go back to our basic beat. Now, if you remember in the earlier classes we made, we always started off with a drum pattern that I called the basic beat. Okay? And that looked pretty much like this. Um, so we're gonna put the kick on one and three, we're gonna put the snare. Here's my snare onto and four, and then we're gonna put a whole bunch of high hats in there. Let's put him on 123 and four. And the ends of those. Okay, let's hear what we've got. Not bad. Um, try a different high hat here. Let's try that one. If I turn this on a bill to hear it. E, Let's hear now, OK? I like that. I had a little bit more. OK, so that's our basic beat. Right now what we're gonna do is we're gonna turn this into a drum and bass pattern. And I always like to start with these basic beats because they just, um it's always easier to think about this as a template for what we're gonna make, because it's usually some modification of this. You can think about any beat as a modification of this pattern. Okay, so this is our basic beat. We've got good drum sounds. You mention one more thing before we switch over. If you don't like these drum sounds, you could drag any audiophile right into here like, let's say I wanted to go to samples and say, Snare, I'm gonna look for us here. There's a good snare. I could drop that right there under this D to no, there's that snare. If I go back to my midi window, there's that snare. So I Q. That snare right there, right? Right, that's silly. Totally gets rid of our basic beat. But if you want to build your own drum racks, you can just put a drum rack in and then drag samples right onto it the way you would put a drum rack in. Let's go to instruments. Drum rack. Throw that right on there. Metal give you an empty drum rack. Then you can put the sounds that you want on there, right, and you remember from the last class. But if you want drum sounds and you don't have them, go to free sound dot org's and download some good drum sounds. OK, we talked a bit about that in the last class. It's a great website for just finding free samples, um, tons and tons and tons of drum samples to go there, get some good samples, come back, load him up into one of these drum racks and then start plugging in your basic beat. Cool. Once you've got that, let's turn this into some drumming base. Let's go to a new video to do that 15. The Basic Drum and Bass Pattern: Okay, So in order to turn this into a drum and bass pattern here is I'm gonna do. First of all, I'm gonna double up my hats. So that were going on every 16th groups. Now, I'm gonna pull these two, pull the velocity down just a little bit. Maybe actually, the middle 12 Let's do that. So it kind of arcs a little bit. Okay, so now I'm gonna delete all those because I've adjusted the velocity here. Now, I'm just gonna duplicate these out. So command G is what I'm doing here. Okay, so now my high hats have a little bit of velocity Variation to them. Can't know for my kick. I'm gonna leave my 1st 1 on the downbeat. This next one, I'm gonna shift over a little bit to right here. 213.3. That's the second eighth note of the third beat. Okay, So instead of right on the third beat, we're gonna push it back just a little bit on my snare. I'm gonna leave right where it waas. Okay. And that's it. So one thing I should mention there are tons of different ways that you can come up with a drum and bass beat. Right? There are a lot of different ones. There's not just one. This is a very basic drum and bass beat. Okay, so I'm gonna play it, and you're gonna say that doesn't sound like Trump Base it all, but hold on. Okay, so does that sound like drone base? Probably not. And the main reason this doesn't yet sound like driven base is really just our tempo. Okay. Drummond bases usually quite fast. So I'm at 1 20 now. We're gonna go up to around 1 70 1 70 is more in the ballpark of where most drone base is. Let's hear it now. Okay. Pretty good. Um, one thing I want to do is pulled this high hat down a little bit. All the down beats. It's just kind of sticking out. In a way, I'm not 11. It's partially due to our sample. Let's just pull that down a little bit. Let's hear now. It's great. Let's see. So that's our basic beat. Now I'm just gonna mess around with it just a little bit. Maybe I'll double up this snare. I'm gonna put that snare sample that I through you are drum rack, quiet down a little bit, but maybe I'll give us a little more punch. I really like any of their sounds, but we'll stick with this for now, and we'll get rid of this just so we go back to our more simple, basic drum and bass pattern. Okay, so that's it. All we've really done from our basic beat is double up the hi hats and shift our kick drum over by an eighth note. That's it. And then we cranked up our tempo like a lot, So that's the basic or a basic drum and bass pattern. Now let's look at some German based tracks and see if we can recreate them at least the drum patterns from them. 16. Analysis: John B - Up All Night: Okay, so let's start off by looking at this track. This is truck called up all night by the artist John B. So this is kind of an iconic German based track. Um, So what I have here is the audio file of that track. And here's the drum and bass pattern that we just made Case. I'm gonna meet that for a second. Um, let's jump forward. The beat actually doesn't come until here around here, but let's hear just a little bit of this leading up to the beat, and then we'll start Teoh remake the beat. Okay, so that's the beat we want to remake, right? Let's go in. And I think it starts right here. Okay, so here's what I want to do. I'm gonna zoom in because one of the tricky things about a drum and bass making like analyzing this and remaking the drums is that things were just going so fast. Right? So I'm gonna take this. I'm gonna copy one bar of it. I think that's one. That should be one bar. I'm gonna make a new audio track, and you don't have to do this. This is just to help us figure this out. Can I'm gonna meet this one. So we're just gonna hear this and let's cool. Okay. Now, let's see if we can get able. Tend to slow it down. Not sure what's gonna happen here. Let's take it down to 120 beats per minute. Okay? Not bad. Okay, Now I'm gonna zip all the way back to the beginning and get my money clip. Let's just copy that. Does it back up to where we were around here? There we are. Let's put our MIDI clip in there. Okay? Lets give us a little more space. Perfect. Okay, so let's do one element at a time, right? Let's listen for the hi hats first. Okay? Just listening to this one. Where do we wait? Okay, I hear t So that tells me every 16th note It's pretty much what we got. Chicken, chicken, chicken tikka, chicken tikka, tikka tikka. Right. Although all of these are high hats are pretty much right are exactly right, as far as I can tell. Okay, Now let's listen for their way. Okay, so we're getting the snare on two and four. That's pretty much what we have here. I think Here it is on to because 1.2 and four, because 1.4 cool. So are snares right now. Let's find the kick. So listen, for if that second kick so the first kick happens on one. Does the second kick happen on three? Or does it happen on four? Or does it happen in between three and four? The way it happens on the end of three. So when I say three and four, it happens on the end. We can actually look at our MIDI kick. Keep your eye on this line. This is our kick. See, if our kick lines up with where you hear it in the drum in the actual track, I'm gonna keep this muted, so we're not gonna hear these. We'll just hear the track and look at this one theme. So it looks like it's lined up, right? It looks like because this is the end of 31.3 point three. If you're having a hard time remembering what these numbers mean and how we're counting them. Go back to the first class where we spent a lot of time talking about that. But 1.3 point three means halfway between three and four. So this should work, Uh, unaltered. Let's turn it on. So let's leave the full track off for a minute and let's hear our drums against the track still at the slow tempo track back down. Cool. So it seems to work. So what? That tells me as I can delete this. Go up here. Let's zoom out. Let's put this a whole bunch. I'm just going to repeat our MIDI clip and let's go back up to the tempo 1 70 or so And here what we've got. Turn the track back on. But I'm gonna turn the track down. I'm gonna quiet it down a little bit so we can hear ours louder than the actual track. And let's turn that loop off cool. So it totally works, right? The pattern we came up with pork is perfectly in this track. Great. So now let's go to another track. Let's go to another drum and bass track that's doing something a little more complicated 17. Analysis: Sub Focus - X-Ray: Okay, let's try a little bit harder one. So I have here another classic drum and bass track. This is X ray by sub focus. Uh, let's just hear a little bit of it. Way, Theo. Picture of what beat is Do you little, like, really quick note in there? Right? So let's pick it apart. So the first thing I'm gonna dio is I want to slow it down a little bit, so I need to make sure that Mableton knows that the right tempo is so it thinks the tempos 87 bpm. 80 sevens. Pretty slow. So it's actually probably double that, but Able Tune is latching on to halftime. So 87 times two is 16 4 I forget I'm going to use a calculator because it's early in the morning. My brain isn't working very well. Okay, 87 bpm. So 87 times two 1 74 So it's probably at 1 74 bpm. Um, so I'm going to do is just double this. I could have just hit that button and done the math for me. Wouldn't that have been great? Uh, that I'm gonna set my overall tempo to the same should sound the same here. Quote. So why did I do that? Why did I care about that? Because when I put my midi notes in, I want the durations to match. Um, you'll see why that's important in just a second. So now I need a drum track. So I'm gonna use this drum niche crap? No, because it has that fast little thing. There really matter. It is kind of like the sounds of this one. That's all I'm really paying attention to when I've selecting a drum rack. It's really just about the sounds in it, But now that I see it, this one has the step divider. I don't want to use that. Can I just use this like, normal? I think I can. Yeah. Coat. Okay. So let's take one little bar. Someone zoom in, find one bar. Okay. I'm actually gonna need to bars here. So this is two bars, but that quick little ref kind of goes over into the second bar. So the pattern is a two bar pattern. That's okay. Uh, so let's make a midi note. That is Two bars are not a mini note. Amidi clip. That is two bars easy enough. Okay, let's cover this. All right. Now let's step through and figure out exactly what we need. So let's start with the kick. Where is the kick? Let's loop this right stars right there, Right? Okay, now we get into the trickier elements. Let's turn this back up. That's mute arm, anyone? Let's just listen for the faster. Okay? So I'm hearing a high hat. That's what I'm looking for now. And I'm hearing it. Oops, this is muted. Let's use that sound. Um, I'm hearing it on eighth notes. That's kind of what I hear now. I suddenly don't like, just doesn't kind of speak fast enough. So let's go, Teoh. Let's go to that. It's a different sound. Okay, okay, we got it. Now let's see if we can find some of that faster stuff. Okay, so let's pick a sound that we want to be that that quick thing. Let's maybe use this other kick. This a little dangerous, but that's OK. Let's try it. So now is what I'm gonna want to slow it down. So let's go. Go down to 85. Oops, but let's hear everything. Okay. So that first little rush of notes. It's happening right here somewhere. Okay, Right here. Something. Zoom in about that far. And so I'm looking at 64th notes. Now that's pretty fast. So let's see if I just do 4 64th notes and 1/5 1 on the next downbeat and see if that gets us what we want. Kind of. Let's hear this one again. Let's put another one here. I think that might actually be it. So let's take it back up. Teoh, What was their tempo? I've already for gotten 1 75 I think one thing I'm going to do is take these velocities down a little bit and I might even ramp them up. Just a hair. A lot of time on these really quick notes like that. You wanted to kind of ramp up natural feel. Okay, so I think we got it. Um, something to point out here if we just looked at one bar of this just this much. This is basically the same beat we had before, right? We have snare on to ensnare on four. We have high hat on eighth notes not on 16th notes, but this is going really fast so 16th notes would be a little over the top. Um, and that's just not what they did here and kick we have on one not on three, but nudged over an eighth note. So the same pattern that we have before, um and then we have this weird little kind of rush of low stuff in There also is kind of something that separates it, but otherwise it's the same pattern. If we look at the second bar, it's the same pattern again. But this is added. The second kick is added, which would be right here if we did it. So they made a two bar pattern by adding the second kick and adding this little rush thing every other. You're both the same time. And now we could probably layer this out through the entire track if we wanted to. Probably not. Here stops there. It looks like from the way for him. But if we jump way out here and then it changes. So the beat probably usually in this kind of a song. The beat stays the same through the whole track. So there we go, Um, another drum and bass track. Let's do one more drum and bass track, maybe only because these air Superfund for me 18. Analysis: Konflict - The Beckoning: Okay, let's do another one. I'm going to use the same session here. It's gonna go down here and make a new MIDI track for my drums and a new audio track for my audio. So I used these to, um, for audio for this one, I'm going to use a track by conflict called the Beckoning. Another classic drumming base. It's wrote in here and start off by getting our tempo all set Drag this over the beginning of my session. Okay, so for this one, I don't think I want to start at the beginning because, uh, kick isn't really in it at the beginning. Um, let's go up here mute views to care about them at the moment. Let's hear this from this starts, that could be good. But there's some later stuff that I thought would be even better. Tha this is what I was most interested in. On second thought, Let's go. Let's go back here and do this stuff. I think this will be okay, so I'm gonna have to do some fancy stuff to get able to see this tempo. Okay. So what I need is that spot, Okay? So if you're not using able to him. This won't matter to you, but I'm just gonna set, um, this to be the downbeat. I was gonna say work from here. That should get us figured out if I put that right on a downbeat. Um, So let's try setting up one bar. Okay, so that sounds like a good loop. Which means we have everything just about right. Um, we're playing it a little too fast. Able to think it's tempo is 1 70 I'm at 1 75 Let's slow it down to its actual intended Teoh . So let's start with her kicks. So probably the same kind of thing for Drummond base. So we're gonna have a kick on the downbeat on the end of three. Just right there. Um, okay. Now we've got a couple different things happening in the high hats and the higher stuff, so let's turn this on. Okay, so let's zoom out a little bit. That sounds pretty good. Now, let's see if we can latch on to this. So first question is, do we here? I think there is one in there, so let's try it. Just with this, that's probably going to be eighth notes, and I'm zoomed way in here. So eighth notes because I'm looking at 32nd notes. So if you just want to see eight notes, you're gonna have to zoom out a little bit. Let's hear what we have here. Okay? That's fine. Um, let's go back. Ther OK, so I think we're hearing that. Move this up here. I just wanna shorter high hat sound. And now there's one extra note somewhere in this area. Okay, Uh, let's try doing like a I don't know or ride. I think it's right there. Okay, put that crappy sound for it like that. I think it's just that one note. Actually, I think it's just right there. Way could also just put a nice hat. Pull extra note there. Um, maybe our other snare way could put it in our stare, but make it really quiet. That's kind of cool. I like that. Yeah, let's roll with that so we can put that nowhere we want, but Internet, whatever instrument we want, but, uh, making it in the right rhythm, uh, is a little bit this one. This tune it sounds a lot, but just adding that that's cool. It's tricky one. Okay, so, um, let's move on from German based, I think we've spent enough time on that on Let's Talk a little bit about performance and humanization. Fun word, um, of drum programming. 19. "Playing it in": so so far, what we've been doing is making a MIDI clip and clicking in the notes right. There is something to be said for playing the notes in using a MIDI controller or your just your computer keyboard if you want. There's a lot of people that say that playing it in gives it a much more natural feel. And I think, um, I think that's true. So it's you. It's often a good idea to do it, perhaps not in German base, because German basis, so, uh, like, kind of mathematical and fast. But, um, if you're just trying to create a beat on your own, playing it in can be a really good way to get a much more natural feel, Um, and to come up with maybe some ideas that you might not have if you're just clicking it in , here's an example. Let's take the same track on this slow down. So I want to give it not a drum and bass field, and I'm just going to try to play in something. Well, it's gonna be drama based style thing. Um, actually, let's not let's not hear that at all. Let's just make a whole new track. So I'm gonna loop right here on a loop one bar, and I'm gonna record a MIDI track on it. I'm gonna set myself so I can overdub midi so I can play a couple different things. OK, so here we go. I'm just gonna turn on my Metrodome for this so I can hear a beat. I got here. Something on that. I'm just gonna play something using my MIDI controller. Okay, so I just played that in and it was an absolute mess. Um, why wasn't an absolute mess. The real reason that it's an absolute mess is that my screen capturing software is making a huge amount of latency here. Which means when I press a note, um, it's like half a second before the computer plays it, uh, which makes it impossible to play things in an any kind of beat. But what I could do. Look at what I did. Look at how the computer captured it and it's all a mess. And, you know, I could tighten it up. So what I had was think I was trying to do that. Let's leave that one there. Let's put that there in that they're probably what I was trying to do that's just was going to clean this up a little bit. Now let's see. Let's see what we have here. Bad that up. It's not bad. It's got a little bit more natural feel on the reason it's got a natural feels because of all of this slightly off stuff. Um, we like that, generally speaking, and it's just a different rhythm that I probably would have come up with otherwise. So there are some tricks to doing this a little bit easier than the way I just did it. And one of them is quanta izing. So let's go to a new video and let's talk about quantity easing real quick. 20. Quantization and Settings: if you've taken any my other able 10 courses, you know what Quanta izing is. But it's worth mentioning here because it can be really useful to us. So here's I'm going to do you take my little drumbeat that I played it. I'm gonna press undo a whole bunch of times. I'm going to get it back to its original way. I played it in, which was terrible. Okay, it sounds like this. Okay, All kinds of messy, right? So now let's quantities it. So quanta izing means take everything that I played in and snap it to a grid, put everything right on its nearest line. It's order to do that. I'm gonna highlight all of this stuff. And this quantity easing works in any application. Uh, it's gonna be slightly different than the way I'm doing it here in Mableton. If you're working in a different program, you might want to go up to the top, appear toe options or something and find Kwan ties for me. I can get it right here. I just control clicked on the selected stuff. I can say quantifies or I can say quantities settings. You can also use command. You if you're unable to. So it's like a Qantas settings really quick. So here they are quantities to current grit. That means, in my case, 1 32nd note. I don't really want it to Kwan ties that much. Let's quant ties it to an eighth note. Means it's gonna put everything on its closest eighth note, right? So Onley these spots and nothing else I might want to do. 16th note. Um, but let's do eight note for now. Now amount can give you a little bit of that flexibility. So if I wanted to be exactly on to put the amount at 100% if I wanted to have a little bit of natural feel to it retain a little bit of the a rhythmic stuff I put in there. We'll dial this down a little bit. So let's put it at 80 when I say OK and now it did it. Okay, so everything's been put to the nearest eighth note. But look right there, you know that's that 80%. It's not quite perfectly on, but let's hear what we have. Be that up. That's not bad. Get rid of this last sneer. You know it would be really cool. Another snare, right? Cool's gonna get that soca feel to it. So that gives It still keeps that natural feel because of the 80% thing that I put in there and that might be too much. Maybe I should have dialed that back or back up, I should say, And put that at 90 95%. Um, so but it's still retained some of that human element, but it also kind of puts it back on the grid a little bit better than it was when I played it in. This is useful to do, even if you're playing it in the on the grid. Really? Well, you know, and it sounds really good when you played in, um, then you could choose to Kwan ties or not, Kwan ties. Um, but remember that playing it in gives it that cool, natural feel, and if you Kwan ties to 100% you're gonna pull that out. So maybe you want that in someone like Drummond Base. But in other styles, you might want to keep that cool, natural kind of off the grid feel it's really popular right now, and it sounds it keeps the track from sounding too robotic. So consider dialing that back if you're using Quanta izing. Okay, so a little refresher, hopefully on quantities ing. Now let's talk about controllers and things you can use to actually play in the beat. 21. Controllers: Okay, So building on what we were just talking about in the previous one we'd like to sometimes play in a beat gives it a little more natural feel. And I like good stuff. I have explained that. So let's talk about different ways. We can actually do it. I showed you how I could do it in the previous video using, um, some controllers in this video and the next I'm going to set up an actual MIDI controller with some drum pads on it. Now, there's a 1,000,000 different kinds of MIDI controllers you can get. Um, you can get anything that looks like a keyboard to things that look like a drum kit to things that look like a saxophone to things that look like a guitar. There is literally in millions of different things you get. Um, I'm gonna use a keyboard that has some drum pads on it. Um, this is fairly common. The specific keyboard I'm using. If you're curious, this is the Novation launch key 61. Um, it So it's been a nice keyboard for me. It's not my normal keyboard. Um, but the normal keyboard I'm using now, uh, in my studio desk doesn't have drum pads on it. So I pulled out this one to use. It's been really good. It's very affordable keyboard. I've liked it a lot. So if you're looking for something cheap, um, that's also quite solid. This is I would recommend this keyboard. So the first thing I need to do is make sure it's set up correctly to play in. So in live, I'm gonna go to my preferences and midi, and now I'm gonna look for it. Now you're midi window here. Probably is not nearly as complicated as mine. But here's my launch key 61. I have track and remote turned on. You really just need to be sure you have track turned on and probably not gonna need remote , um, or sink. So if you go here and track has not turned on, it looks like that. Turn it on. You should see your device and all of these on off buttons for each device. Now, I have a whole bunch of things connected to my computer. That's why it looks more complicated than probably yours. I also have you know, you see, Launch Key is coming up here twice as an output. It's coming up twice. We don't really need to worry about that too much. I'm just gonna turn it on for both of these two so that I can control able to with it. If you don't do that, I can't do it. So now, by playing notes on it. So I'm playing Midi notes. This is a low C. I'm triggering that kick. But also, if I go to the drum pads, I can trigger the same midi notes, Um, because it has drum pads mapped to the same spot. So let's talk about that a little bit more. I gonna set up cameras. You can actually see what I'm doing with my hands, and we'll go from there. So let's go to a new video and look at how this actually works. 22. Recording Controllers: Okay, so let's do some of this. So what I have here, um, my whole set up right now is I have one track in a Bolton with a drum kit on it, and I just use a drum rack, so I have no normal kick. This is right out of the box. I didn't do any map ings or any anything fancy here. Um, I can play some of those drum sounds on the rack with my notes, but I can also playing with these pads appear on. That's just the way that this particular keyboard is wired. But if you have a group of pads like this on a keyboard most of the time enabled him, they're gonna pop right up in your drum rack. Okay, so they'll be auto mapped. We say the mapping will be set up automatically with the drum rack. Usually not always, but most of the time. So, uh, I'm gonna record a little beat, so I'm gonna do what I did before. Now, I want you to notice one thing. Um, preface this by saying it's gonna be a little sloppy because of that Layton see, thing I was talking about before Um, here's what my Layton's he looks like. So if you hear well, you probably hear it. But, um, when I press the note, by the time the computer plays the note, it's quite significantly behind. And if you're trying to play a beat, it's really it really messes with your head, and it's really hard to do. So, um, that's the Layton. See now. Now the Layton see is really only because of my screen capturing software. If your experiencing Layton see like that, try to quit other programs that are running on your computer, that will help a lot. Um, I can't do it because I need to capture my screen for the video. So here's I'm gonna do. Ah, there's my latency. Now, through the magic of video editing, I'm going to re sync these videos to make the Layton see look like it's not there, So that should look a little bit better now. Um, just so it's not confusing to you. Um, OK, so here's what I'm gonna do. Uh, I'm going to Let's go over to arrangement view just cause that's primarily where we've been working. Um, let's make let's make a one bar loop here. Now let's make a two bar loop. Let's have some fun. Okay, so I have a two bar loop, you turn on looping. Okay. And now I'm gonna turn on this button here. This is MIDI arrangement Overdub. If you're not unable to in, this will work a little different differently for you, but you'll have a button somewhere that will let you do this. So basically, what that's gonna let me do is record multiple tracks over top of the same thing. So I'm gonna do one time through just playing a kick the next time I play may open both of these, uh, sneer and a clap. So I'll do that on the third time. I'll put some high. Okay, I'm gonna try to do kind of our basic. I could do the kick in the same time. Maybe I'll do that. I just don't want to be to try to be too fancy, because that usually results in failure. Okay, but here we go. I'm gonna need a click track. Let's slow it down a little bit and up. Okay. And here's my now it recorded. So now it's in the loop. Okay, So here's what we have. We have a huge mess because of that. Layton. See, um, it's really hard to do. A man doesn't mess with your head. So let's go in here. Let's select all it's control. Click. Let's quantities That sucker that looks like it went the wrong way. So let's quantifies settings. Let's change that, Teoh eighth note and OK, all right, Close. I'm gonna move everything back in eighth. Note. That looks like what I wanted to do. I don't know what this one is right here. Let's get rid of that. And now we look like Looks like we're in the ballpark. Let's hear that. Okay, pretty good. Now, if I wanted to add more elements to it because I still have this on, I could just hit record on it again. We find another elements. Let's use that. So I just want to do that. One note. So there it is, right there. All right. Not bad. So you can see that, um, playing with this does give you a little bit more natural feel. I did have to take some of that natural feel out to when I quanta ized it to deal with the late INSEE. Um, but playing it in can be really fun and rewarding. You can see people playing in beats using these kinds of pads and doing it in like a really virtuosic way. You know, like I'm not particularly brilliant at it, But some people are using two hands and just going crazy and making these amazing beats in one take. Um, that's fun. That's really cool. You don't have to do that because you can always overdub like how I was just doing so. Experiment with that. Play around with it, have some fun with it. 23. Ableton's Groove Settings: No, let's say I wanted to get some of that humanness back, so I took a lot of that human. Ah, that that kind of sound of slipping things around by playing it. I took a lot of that out when I kwon ties right, which I had to do. But what if I wanted to get a little bit of that back? I could just go through here and notice things around a little bit, but there's a little bit better way to do it. Um, right here I have something called the Groove Pool. Now, I've seen this show up on a lot of other applications lately, so you probably have something like this and other applications. But a groove is it's really a file. There's a file in there called a groove, and we have a bunch of different grooves built into live, and you can download more. You can find him around. And what that will do is kind of apply. Ah, a little bit of wiggle to what we've put in here, right? The most common one is some kind of swing. Okay, so, uh, let me just try to put one of these on here without looking at it too close. That was not very obvious. Okay, so I'm gonna change this one to eighth note, and then we open this up. There's a randomness about here, so let's turn that up just a little bit and then put it on here. You know, it's a little off from the click track. Now, that was a little too much for my taste. There we go. Just slightly off right now. Watch this. I can go down here where it says groove and I can commit. If I commit, it's gonna change these notes, Okay? It's gonna move them to where we're actually hearing it. So watch close some of these notes when I hit commit. Here we go. Look at that. Things just kind of slid around a little bit. That's taking me off that perfect grid, right? So you can put things in just by clicking them in into the perfect grid and then apply a little bit of randomness using these grooves to give it a little bit more humanness. That's a weird word, but it works. So now we've got this thing that's a little off, but it's going to sound a little more natural to us. If I turn off the click track tempo a little bit. Look at that. Why aren't we hearing this first kick? And he guesses, Do you know why? We've already talked about why? The reason is if we zoom way in there, where's that note on happening? Remember this? We talked about this earlier that no downs happening back here, so it's so we're missing it. So if we know nudged that forward, just the hair will get it. There we go. Cool. Now. If I wanted to get my really straight field back, I can always go back in here. Raequan ties. Perfect, right? So that's how you can go back and forth. Or you can just hit, undo on the groove setting Cool. Okay, so with that said, Let's go in and let's talk about another genre and let's start picking apart some more music. I think dub step is up next, So here we go get ready for some bangers 24. The basics of Dubstep: Okay, let's make a dub step beat. There's a lot of different ways to make a dub step beat. So if you're a big fan of dub step that beat him about to make you might say that isn't some like dubstep, but, uh, just remember, there's a lot of different ways to do it. Okay, So we're gonna make, like, a really basic, uh, dub step beat like, Super Basic, and then we'll pick apart some tracks and we'll build up on it a little bit. Okay, so I'm gonna start with my, um, basic beat. Okay, so let's go here. Let's make some sound. So I kick to do that, kicks near and let's go to our high hat. And that's to that eighth notes and are higher. Okay, Okay. So let's hear what we've got here, and I've got my Metrodome on. Let's turn that up. Okay. Back to our basic basic beat, right? This is definitely not dub step. Okay? First thing we need to do is let's get in the ballpark of the tempo that we want to be at, which is ah, about 1 40 bpm. A little higher, the lower. So let's go upto 1 40 bpm. Let's hear our basic beat at 1 40 Still not to. Phenomenal. Okay. Now, um, dub step has a halftime feel to it. And what that means is that we're gonna take this. We're gonna basically zoom in eso that these 1st 2 beats take up the whole bar. Okay, so that means I'm going to stretch everything out. So I'm gonna put this over here and this all the way under the next beat for the next bar. Okay, so that goes there. That goes there. Zoom out. Okay. And then I need to continue these. Okay, so we really just stretched out what we were doing, right? We had our kick on one and three, and then two and 2.3 is where it would have been. Um, but instead, we just pulled it apart. So that beat so that the kick is now on one. And then on one of the second bar and our snare, instead of being on two and four, is on three and three. Right? So we really pulled it out, stretching apart so that two bars will feel like one big bar. Right? That's kind of how dub step works. The next thing we're gonna do is we're gonna do the opposite with our high hats. We're gonna, like, really crank these up to be, like, cooking get ah, And now we're gonna add a little bit of flavor to these. So I'm gonna take some of these. I'm gonna really kind of finessed of the velocities here because dub step, we pay a lot of attention to our velocities are to our high hats. I should say, S o c. Let's do that. I basically want most of them to be quieter. I'm gonna let some be little louder to make those louder ones have that kind of a cool accent. Okay, just shift clicking these. Select him and pulling those velocities down. Okay, Uh, that's basically it. Okay, so let's hear what we've got. Okay, Now, there's one more thing I want to dio uh, and that's double up this kick, but that right there. Okay, so I'm gonna add another kick right before 22 on the last 16. Note. Okay? And feel how those high hats have, like, kind of their own little groove going. Let's hear just those high hats. Subtle, right? but there's a feel to it. Pull us to deep back in OK, so that's our most basic, basic basic pattern that we use in dub step. So let's know. The one other thing that comes in here is typically a lot of extra little percussion sounds . OK, so let's dive into a track and see if we can make something cool. 25. Analysis: Skrillex - Scary Monsters and Nice Sprites: Okay, let's start with probably one of the most popular dub step tunes ever to have existed. Skrillex. Scary Monsters and nice sprites. That's something that starts like this. You probably before Theo. Okay, so when we think about dub step, we might be thinking that we have this really bombastic sound. But ah, lot of that is in the bass. The drums are actually relatively simple. Let's go up to where the drums really kick in, right, Theo, right? Not a whole lot happening. So let's loop just this part thing. Let's take our dub step beat from before. Let's just try to place it right on there and see how we did. Okay, let's hear what they sound like together. Okay, not bad are Kick is in the right spot except for this one. He's not doing that, but there is some different kick stuff that we'll talk about in just a second. Let's take that out and our high hats are a little over the top, so let's take all of them and that's tone down the velocity on them just a bit. Let's mute hours and just listen to Skrillex track and let's listen for those high hats. Okay, Uh, I hear every other I don't think he's doing before 16th note. I think he's just doing eight notes, So let's take out every other one. So in other words, we're going half assed fast is the way we have them set up. It's your are beat. Now, another thing I hear is a different kind of accent pattern. Uh, okay, what I hear is this one being louder and basically every 4th 1 from there being louder. So you know, there's didactic adapted to deduct it to do that. So there's an accent on the second eighth note of the beat in the high at. Obviously we're using not nearly the same samples as he's used way could beef up our snare a little bit. Ah, by just throwing kind of everything we got in here, they're not very much. We don't have a real punchy kit like he does, but that's OK. Let's hear what pretty get. I think we got it right. Nice and simple. This track is at 1 40 bpm, so that's what we're planning it at here. But let's go a little bit farther because he does start to change things around a little bit. Gonna copy this onto the next two bars and let's hear if there's anything different here. Okay, it was changed it up a little bit here. So let's go through our different elements. Let's listen for the kick first, Okay? There's another one right around here somewhere. Way. Have a few happening right here. Way, But But I don't think that's right. No, to go there. They're evenly spaced. So it could be that turnout in mind so I can hear it. Cool. Um, now is there any more kicks over way ? I think it's there. It will be easier to tell once we put our snare in. So let's go to our snares and we'll come back to that last note. Eso Let's hear what is happening in. Okay, there's another snare here. Okay, so we still have that basic pattern, but he's added a couple extra kicks just to give it a little life. Ah, and one extra sneer. Let's see what the next bar has for us. Uh, I'm actually going to copy our 1st 1 over here. The more simple one. And let's see what's happening here. Se Mazar intro. Nothing strange there. Let's go. Another two bars. Ah, OK. So now we have a clue is what's happening here. We really have a four bar long pattern because now we have that same bar again. Let me zoom out a little bit. You can see. So these two bars are the same, and these two bars are the same. That tells us that really what's happening is this is the pattern, right? At least right here. Ah, that's the pattern. It's a four bar pattern. So this cool. I think this is where the track kind of tones down. So let's put our first simpler beat here and see if this works. - Okay , let's see what that waas. Okay, so we just had a bunch of kicks right here to 16th notes. Do we think? Let's see, let's get rid of that. That all of that. Let's see if this fits. We're missing one because we hear 12345 We have four. There's one of this down. Okay, we got that. Now let's see if our beat is the same Here. Let's take these two this to ah clip pattern, which is really a four bar pattern Let's put it here and see if the big loud thing works for this. Okay? For this first bar? Uh, not quite. There's something in the kick right around here, right? It's like incredibly close to that. I don't think that's right. Thigh. Okay, so now he's not doing this here. So now he's back to just two. Ah, to bar pattern. Okay, so now, with that, we could go on and do the whole rest of the song. I think those were all the beats in the pattern. Ah, in the whole song. So cool, Relatively simple beats. You know, we we think about dub step, and we usually think about how it's, um, really dense and complicated. But when it comes to the beats, it's actually pretty simple. Let's go and look at another son. 26. Analysis: Flux Pavillion - I Can't Stop': okay up next. I want to do this track Flux by Flux Pavilion called. I can't stop. Okay. However Ah, I actually think I'm gonna break this into two videos because, um, that's the part I wanted to look at. But as I was setting this up, there's this long, uh, build to a drop in here that I thought might be good for us to look at two. Here's the theme, right? So let's do this in two parts. So first, let's just do the beat. Okay? Then we'll look at this built next. Eso Let's go right here and let's do I don't know. Maybe there set up a loop. Uh, okay, let's look at actually just one measure first, Theo. So two measures because this is dub step and we are in this kind of to measure pattern. No. So let's look at so I just dropped in here are the same, but we were using before our basic dub step beat and let's see if it works. So let's listen for the kick theme. It's a little more complicated, right? So let's just okay, that looks pretty good. Now let's look first near Theo also looks good and are high hats. I hear eighth notes, which is what we have here, not 16th notes. 16th notes would be double this. This is about what I hear. So let's hear ours at the same time, Theo. Okay. And if you're thinking, why is it distorting? It was doing that in the Skrill Extract. To the reason is, I'm just giving a tonic kick because I'm hitting these kicks the same time as those kicks. Um, and that's kind of what I wanted to do for the purposes of demonstration. Because if we're hearing it to store, it means Ah, we're our kicks are in the right spot. You would never want to release a track that does this Onley for educational purposes. Do we want it to distort in that way right now? Um okay. I want to check those high hats again. So you hear just the track, Theo. I'm actually only hearing those half of that. I'm only here in quarter notes on this one, so I think this will sound better. Lets you track thier Those high hats is going ha theory. They're not doubled up like I had him before. It gets better so relatively simple on this one. Let's see if anything changes in the next booth and let's do one more go. So pretty much the same all the way through. Okay, Um, so now that we've tackled this, let's look at this buildup. Ah, and see if we can figure out how they do that. 27. Analysis: Flux Pavillion - The Drop Section: Okay, so let's look at this drop. Let's hear it again. Cool. Okay, s So this is pretty typical in a drop like this. So it's gonna have really nothing to do with our main beat. Um, but what we're gonna basically do is set up a pattern and then double it. So we're going to have one. We have quarter notes. Let's make it fresh. And the beat is a little off from able to here, so let's see if we get this right. Okay, let's keep going with this here. Okay, So right there, it starts to double. Okay, So all we're gonna do is double this up on a select all those. Double the rhythm. Okay, let's go to the next one. And I want to be sure everything is doubled to this whole thing. Okay, so let's hear this part. Okay, now, here it doubles again. Okay, Now it gets even weirder. So what's happening here? And this is fairly typical. Uh, it doubles again, so it doubles in a way. Woops. That gets kind of so insane. It just goes, Does this crazy weird sound, But let's do it. So we're gonna double up again and then it's gonna cut off. Looks like on beat four, maybe even beat three B three. Usually when we have a cut off like that, we still have the beat. Okay, so I'm gonna leave one right here. There's usually a pro room, right? Like a landing point. And that's that beat. Sometimes they leave it off, but most of the time you'll get that, and then it stops theme to the pattern. Okay, so let's just hear ours just for the sake of it. So here's what we have right now. They also put a filter on right here. You can hear in the track right there, right? They did some filtering to make it. Give it that kind of Flanders sound. But just in the rhythm and the drum track, that's basically what's happening. We might also I mean, often you find, um, this being done in the snare also. So if we took this, put it up in, I don't know are snare, maybe even the clap. Right. Um, soon way out on that, and that's to Yeah. So I'm gonna combine all these together so I can see them all in one flow here, but Let's take. Let's just finished doing that. I don't think they're doing this in this particular track, but in builds like this, you often find this. So that's how we do those kinds of built? Uh, pretty easy, right? Okay, let's move on and start talking about some of these effects because we used, in effect here, uh, in the track. So let's actually look at how we would do that. 28. Adding some life with effects: Okay, let's talk about some effects. Now we can put effects on the whole beat, or we can put effects on individual notes within the beat. Or, uh, we could put effects on individual sounds and they'd be right. We can go over here. We can say I want this time to have certain effects. There are ways to do that. Depending on your software, that's a little complicated, but, um, we do have ways of doing it. We can also just apply effects to the beat using and automation curve. Or we can put effects on the whole bloody thing. Um, either of those are possible, and all of them are good options, depending on what sound you're looking for. So I'm gonna go through in this next section, just a handful of effects, different things we could do nothing too complicated, but a number of good things that'll give you some nice options to add some life. A little bit of color to your beat. Let's start with filtering. Since we just kind of heard it here in the I can't stop track. Uh, even though it was in the build up here, um, and not actually in the beat. I still think it be cool to pick apart what exactly is happening there to make that sound. So let's start with that. It's something called filtering, so it's go to a new video and talk about AH, applying a filter effect on there. 29. Filtering: Okay, so let's go back to this. This little buildup here, let's hear it one more time. So I got it. So, load, I think so. I really want to get into what they're doing right here. And I think they're doing something actually, kind of complicated, but I'm gonna do kind of a simpler version of it for now. So the way I'm gonna do this is I'm gonna go toe audio effects, and I'm gonna put an e que In this. In my case, it's called E Q eight right on that track. Now, you might be thinking a few things right now. One is Isn't this a midi track? How can I put an audio effect on a midi track? You totally can. Um, the thing is, if you look down here in my track, this whole block of stuff is all the way up to here. What's kind of light blue here? That's making the sound right. That's all my drums. After that, I'm making sound so I can put an audio effect after that. I can't put an audio effect before that because it needs to have be making sound so I can put in audio effect on this track. Um, now I want to turn it on right here. And I want ah, filter with kind of a lot of residence. So what? I'm gonna dio So I'm gonna try to just keep this filter flat and not pull any sounds out. But just move this residence up to make that sound. Okay? So I'm just gonna kind of spike the eq you right there. This is called just a band pass. Um, filter. So we're just gonna boost this filter, and then we're gonna kind of sweep it up over the course of these really fast notes here. Okay, so I have it set up. It started out about their Okay. Now, in order to sweep it up, I need to turn on automation. And I want to adjust this frequency because I want this to go work like that. So I'm gonna click on this frequency once. That gives me my frequency knob. And I'm just gonna draw that to G o up over the course of those quick notes. Okay. So let's see what we did here. It is. Okay. Uh, not quite what they had here, but it does give us that that Ah frequency sweep effect. I think if we had a whole track going here, that would actually be kind of close to what they're doing here. But let's try a different filter type. Let's try that. Okay? I still have the same ramp, but now I'm not letting high frequencies through. I'm gonna open up all those high frequencies as we go up it. If you haven't worked with the accused before, go back to some of my earlier classes, especially my able to in classes. But you can find some of my sound design classes also where we talk about working with filters. Let's hear this one. We were both there. Okay, so now I'm pulling out all of the low stuff. So what I really need to do is start this off a lot higher and it might get me more in the ballpark of what I want. Try that. I think that was pretty close. Umm, I might even boost this to do something like that so that it jumps down at the beginning of this and then ramps up. Okay. Ah, that's pretty good. Actually, that's kind of a cool effect And will really help us ramp up into that section. Let's hear both at once. This is gonna be distorted as heck, Theo. Um, so I like that. So that's just using a filter where we're just gonna give it a big amount of residence. That's that spike right there. So this is like no residents. This is a lot of residents. And what is going to sweep it up? We just call that a filter sweep. So cool effect. 30. Delay Effects: Okay, Now, let's keep using the same beat. But let's talk about, um, delay effects. So delay is probably one of the most common effects will do. Let's put some delay on the snare here just for fun. So I'm gonna go to some kind of delay effect, find something, and I'm really just going to use the automation to turn it on and off. Eso really simple. Here's a simple delay. That'll work. Throw that on there. Okay, so let's just hear it right out of the box. What? It's gonna sound like maybe there we go. Okay. Too much delay. We don't want all that delay on it. Let's put it just on the high hat here, Okay? So in order to do this, we're gonna put our delay actually onto this return track. Okay, so now I have a reverb and a delay. Let's just turn that reverb offer now. I'm not gonna need it. I just want this delay. So if you haven't worked with return tracks before, uh, this could be a little confusing. Basically, what we're gonna do is we're going to send the signal, uh, from this track down to this return track And the way we're going to do that is with this knob right here. Now, if you're in a different dog, you have this somewhere. Um, You have a send in return track. So you put the effect on the return track, and this is where we send it. Okay, so the return track has all the delay. Okay, I can open that up so we can see a little bit more, but we don't really need to. We don't need to mess with the return track too much, except I do want to crank this wet all the way up on the delay. So now I'm just gonna automate what gets sent to that return. Okay, Some is going to say send a whole bunch here, Stop sending it. Okay. I couldn't sharpen that up a little bit. Here we go. So send a whole bunch to the return stop sending it. Okay? So now it's gonna happen. Is when this snare hits its going to send all of that for the return track, which is going Teoh, add the delay and they were going to stop sending it to the return. But that delay is gonna keep going We're just not going to give it any new stuff. So this will put that delay on the snare, but let everything else keep going and stay nice and clean. So let's try it. Let me put the the reverb down here so you can see it coming in. We should see the signal coming in here and out here, right? So all that's really happening again is we're using a return. Tracks were automating. How much is being sent to the return track? It's on Lee being sent when this is up. So I'm just carving out what I want to send to that return. So when this is up than the signal is being piped over to this return track, which has the delay on it, right, and that's letting my sin air delay but nothing else, it's a neat trick. You could do a lot of fun tricks with that by sending it, sending certain beats to a return track 31. Reversed Sounds: Okay. Reversing sounds. This is a really fun one. Ah, and one that's not super easy to do. It actually is really easy to do. You just have to do one step. So what I'm thinking about here is taking something like our snare hit and reversing it so that instead of going it goes like that. That was kind of tricky to do with my voice, but you get the point. Um, no, we can't really do it in Midi unless we wanted to go into our drum rack and manipulate the sample itself, which I don't really want to do because I don't want to do this toe all snare hits. Just want to do it on occasion. So here's what I'm gonna do. In order to really do this the way I want, I have to convert this to an audio track s o what I'm gonna do. I don't want to convert this whole thing to an audio track, so I'm gonna duplicate it first and duplicate this mini track. Get rid of everything. That's not what I want. I don't have duplicates of the whole thing. Nothing there. It will get rid of it anyway. Okay, let's take this. Now, let's convert this toe audio, so I'm gonna control Click on it, and I'm going to go to freeze track. Okay, I'm gonna do that. Same thing again. Going to go to flatten. Now, if you're in a different program, this might be called, um, re sample or bounce in place. Something like that, uh, able to and calls it frees and flatten, but it's all the same thing. Okay, so now I have it as an audio track. Cool. So now I can easily reverse this snare head. So I'm gonna do is go here, And I think I can just press are when it's highlighted. And there it is. But you have a slight problem now, um, in that my attack is now at the end of the beat rather than on the beginning. So in most cases, I'm gonna want to slide this back a little bit, but let's just hear it. Right. So it's behind the beat now, So let's loop this section. Um, what I actually want to do is put this back on the beat, so I'm going to zoom way in and I want this. I want the hard part of it, Toe. Actually be right there, right, Because that's where the snare hit before. If I reverse it, this is where the snare hit. So now I want to zoom up into that sneer hit, but more or less hitting the same spot. So I gotta pull it back just a little bit. That's gonna add this little empty spot, but that's okay. Let's hear it right. That's pretty cool. Now, if I wanted to, I could rejoin this all together, using the consolidate function. Just command JN able to now it's clip, so that could be a cool sound. I like to do it with snares and Cymbal crashes. It works pretty well onto, um, it's a cool effect, But just remember that in order to really do that, you have to do it in audio. You can't just tell Midi to play the sample backwards. Once you can tell it toe, always play the sample backwards by just reversing the sample that you have loaded up. But unless you wanted to always be backwards, that's not a great way to go. If you want to do it this way, just convert it to audio and then just chop it out, reverse it and put it back in there and you've got a cool reverse snare effect. 32. Pitch': Okay, let's talk about, uh, shifting the pitch in our drumbeat. Now, there's a whole bunch of other ways we could do this. We could convert it to audio and then do some pit shifting that way. Um, we could do it with MIDI by applying some effects. But what I want to show you here is one kind of way of doing effects that we haven't looked at, which is, uh, doing some effects using MIDI automation. So let's hear this. So if I just go back to my non audio beat, I'm hearing this one. Now it's going solo. That track. Okay, Now, what I can do is, um if I open this up a little bit, I have some envelopes here. Okay? So I'm going to select pitch Ben. So you have a ton of envelopes here? Um, these are all pretty standard stuff in midi. A lot of them are empty, but a lot of them have stuff on them. If I go to pitch bend, this is just like the mod wheel on your keyboard. How you can make it. You know, if you have a keyboard that has a wheel on the side of it. Usually it's on the left side. Um, you can play some notes and push it up and I'll let you go. You know, go up like that. This is just that. But what I can do with it is draw these notes to go up higher, right? So now it's just gonna push these the pitches of all the notes in my beat up a little bit higher could be kind of a fun effect, Right? Let's crank up. My tempo. Might sound a little more interesting that way, and I could get more clever with it. It's actually like relatively subtle but kind of a cool effect, right? So don't forget about these, uh, envelopes that are right in your MIDI window that you have any application has these midi envelopes in it, so find them and play around with them. The pitch bend is fun. There are some other ones that can be really fun as well. Balance could be somewhat interesting sometimes. Um, expression foot pedal is usually a sustained function. Um, the rest of these depend on kind of how your sampler is set up, but, uh, you might have some more in there if you're using a more complicated sampler. So play around with those. They could be quite fun. 33. The basics of Trap: Okay, let's talk about trap now. Just like dub step. There's a lot of different styles of trap. Um, that can happen. And it can be, um, to put our finger on one thing that is, like, the definitive beat of track or the definitive drum pattern of trap is quite tricky to do. Um, So what we're gonna do is, you know, the same as before. I'm going Teoh, do something that I think is pretty much indicative of the general style of trap on. And then we'll pick apart some songs and and, uh, see how it fits together. So let's go back to starting with our basic basic drum pattern here. I'm gonna make one bar. Let's loop that one bar security that we're thinking. Dismayed. Okay, so we're gonna have kick on one and three sneer on two and four. Still getting some of this. Uh ah. Delay. My son was still up just a little bit. Should be gone now. Okay. Ah, And then let's put some high hats on. 123 and four. Oops. I'm made a polka. Um, because we're going super to professed. OK, way. Ok, so now let's see how we can turn this into something more like a trap pattern. Now, if you listen to trap music, you know that Ah, lot of trap comes down to these high hats and we want those High has to be pretty darn frantic. Um, but we'll get to high hats in just a second. Let's start by, Uh, let's double up our kick. I'm gonna move. We're gonna go halftime again. So I'm gonna move our snare over to three, okay? Cause we're gonna crank up our tempo, and then I'm gonna put another kick on four and then let's put something into maybe a clap . Let's just say that's actually not bad. Let's use this near. Okay, so now we have this. Okay? You're thinking I don't know. I don't really hear trapped there. Just hold your horses. Okay, um, let's extend this out to be, uh, to measures long, okay? And let's keep going. So we're gonna keep our We're gonna keep part of our pattern going. These two things are gonna be the same. Those on 22 But we're going to keep adjusting our kick a little bit, so let's maybe go here. Here. 23 There okay. And then let's just carry our high hat over as a placeholder for now. Okay? Bad. Let's put this up at a more trapped, friendly tempo. Um, let's try 1 40 or so, right? We're getting there. Know what I really want to do is extend this out to be a four bar pattern s. So let's actually do it. Because we do have it kind of continuing on. So I'm gonna make this four bars. Here's our third bar. Here's our fourth bar. Okay, so let's look at what we've got here. So third bar. I'm gonna go here. I'm going to go 34 I'm gonna go for two. And when we go, second half of 43 okay. And then we're gonna keep these. Right where? There. Okay. And then let's extend these out. So now we have a four bar drum pattern. Okay? It's kind of a two bar pattern. It repeats a little bit. Still looping just two bars. It's extend my loop out to the full four bars. Here we go. Okay. Now, let's deal with these high hats. Now, What we really want here is some high hats moving at about this speed, and we want some high hats moving crazy fast. Um, the way to do this is, you know, you gotta zoom way in. You're going to do some high hats that are just really cruising at 32nd notes. I wouldn't go all the way up to 64th notes. Which would be this that I think is too fast, cause I'm at 64 right now. That's what my grid looks like. Um, I don't think we want 64. Definitely not at this tempo. Um, so 16th notes eighth notes, 32nd notes. That's really what we're looking at here, and you're gonna kind of really randomly dispersed them. There is some logic to it, but, uh, as far as I can tell and I'm not a scholar of trap music by any means, it's pretty just kind of like, really delicately placing things in somewhat of a random way. And it's reasonably time consuming. Two years I'm gonna do, I'm gonna get rid of that. I'm gonna go out here to the magic of television, where I've already made this. It's like a cooking show where they, like, turn around and say I've already made the souffle. Um, So here's one where I, like, really tediously put in all those high hats exactly where I wanted him. So let's take a look here. Okay, so I've got some going at eighth notes here. Here's 32nd notes. I guess these air 16th notes. No, these air, eighth notes, uh, these air 16th notes and so different sizes. If I zoom out, you're basically just getting a ton of stuff, okay? All the stuff down here is the same for bar pattern. And I'm, uh, got kind of frantic high hats going all over the place way. All right. Not bad. Um, so check out. You know just how to do these high hats. You really just have to get into the grid and really make make him kind of changing up and moving around a little bit. But that's our basic trap pattern. Um, So with this, let's go on and analyse a couple tracks, see if we can make this or something like it fit into some other songs. 34. Analysis: Gent and Jawns - Turn Up: Okay. So for our first trap track, I have turn up by gentleman. John's another classic track. So let's just hear the first part of it, and then we'll dive in and recreate that theme. Okay, so let's dive in right where this beat starts. Okay, so this is what I'm concerned with. So let's take him. Think I have a drum on their now four trap? I should have mentioned also, what we really want is that 808 drum sound. Let's go. Classic 808 drums Just more or less what I've been using for the other stuff. But, um, just make sure we have that 80 wait. Sound. Because that is really important to trap. I remember. That's just one of those old classic drum machines. Let's start off with a one bar loop. We'll see if we need more. I think we probably will. Okay, there we are. Um, and let's go through and start with our kick, so look okay. So way. So if we just look this one bar, I only hear one kick way, Have a snare here. Okay, so let's continue on. Let's go to our second bar. Because Obviously, this is at least a two bar pattern. Ah, and we'll do what? Those high hats After we figured out our main kick and snare. Oops. Still looping one bar. That's Luke. Two bars. Okay, so I heard. I think, actually, and make sure that Oh, I'm actually wrong here. That goes back there. I'm thinking a little too fast. I want I didn't need to do that. Um, I want eighth notes here instead of £16. Oh, right, Theo. OK, so that seems to be a good, unified pattern. It This last note leads back to this note that feels comfortable. Let's see if we need to go on to the next, uh, a few bars. Let's see what's here. I think that actually is different. So let's stretch this out to four bars. I think there's a slight variation in the kick here. Okay, so let's go to here. Let's go back to our second bar. All right, there, I think. Okay, let's hear off. Four bars. I think it's a something seems a little funny right there. - I was just one, uh, eighth note later. Okay, so now we have that. Now, let's deal with these high hats. Now, if we're going to recreate this, I'm not gonna worry too much about perfecting the hi hats that air in here. Um, although we'll try to get it, we'll try to get close here. Uh, Okay. So let's just go back to our first bar. So I'm gonna look just one bar. I'm gonna do this one bar. Okay? So high hat closed here. We owe so way. This level double that. So just that he is down to 32nd here. Okay? Another thing is that these aren't there. Okay, so we have this quick run and then a downbeat Theo Bad. Let's go on to the next bar. I think I'm hearing that thing and then copy that. I think this is interesting. I think there's a triplet here, so a triple. It means we're dividing the measure a little bit differently. Basically, we're doing is one, 2312312 Syncopation. We'll talk more about Syncopation soon. Um, but let's hear that. I don't think I have it. Right. Something doesn't sound perfect. Zoom in a little bit more. Okay. It's going to our third bear. - Okay ? We have another Syncopation here. So over these two beats, there are six notes. So what we're hearing is, so if you listen really close to the high hat, where you're gonna hear is this rush, and then you hear 123456 Okay, try to say count to six when you hear these high hats right here. Right? So they're six over the course of these two beats, So that's the same as what we were doing here except double. Okay, so that's a six template or to triplets. What that means is that, um, work, It's kind of Ah, it kind of gives you a weird little stutter to do that so we can go through and just kind of figure out where that is. But a slightly easier way to do it is if we do, uh, let's go to quantifies or not quantifies control. Click. And then we can change our grid to show triplets triplet grid. Okay, this is gonna adjust our grid so that we're actually, uh, it's much easier to make triplets this way. Okay, so that should be those perfect triplets. Those are gonna be all off the bar if I, um zoom or if I go back to not triplets, which I'm gonna do now. So now you'll see these are in between spots. But that gives that that triplet sound. Okay, so let's hear what? 123456123456 Right. So that's a triplet. Um, there. They're kind of tricky to just manually put in there. So if you can find a way to get your program to jump over to a triplet grid Ah, it's there much, much easier to put in there. Okay, I think we got our high hats pretty much spot on. Let's hear our whole beat. And we're looping that last bar one more time. Go. Um, so there we have it. The main beat for this tune. It's a little tricky, right? Cause those high hats just keep getting weird, you know, um and don't forget this 80 wait. Snare is really key in this kind of music. Um, we could double it up if we wanted it to, but, um, I don't really think we need to buy double it up. I mean, ad, you know, one of the other snare or, you know, this. I could do that. Theo. School. Um Okay. So, uh, tricky, man, this high had stuff is just hard and tedious to put together, but it can be done. And remember, you can always slow the track down. Um, that would probably have made that a little bit easier. Uh, let's go onto another track. 35. Analysis: The Drop - Bro Safari: okay for our next one. Uh, let's look at this tune called the Drop my Bro. Safari. Um, let's go to the beginning and, uh, just hear it. - Okay , so that's the part I want us to grab. Okay, so let's go. Let's just go here. Get rid of that. Ah, and put a file right here. And now I want to make sure that we're on the grid with this track. Otherwise, things were going, so let's see here. Um, so 11 here, uh, or from here. Okay, that should do it. So always, if you're wondering if the track is right on your grid in your program, just turn the Metrodome on. Listen, see if it's lining out. Sounds good. Okay, so, uh, let's go through it. Uh, okay, so here we go. Let's do one measure at a time. One measure pretty good. What about our high hats here? Nothing. Right. There is a Cymbal crash right at the beginning of it. Um, that's not a perfect crash, but that's okay. Let's use it. What's going to the next bar and see what we've got here? See if the pattern continues or if it's just a one bar pattern probably continues and no high hats there. Okay, let's continue on. Stretch that out to 1/3 bar. Move over. Okay. Pretty simple. And let's move to 1/4 bar. - Way have here is the snare and this other Santa. These two senators don't sound the same, right? So let's give a little extra justice to this other one by adding a clap with it. Let's just hear ours and then we're looping That Okay, so really simple on this one. I thought we were gonna have a whole bunch of high hats, but we don't Let's hear both at same time. Way, way. Have a four bar pattern here. But keep in mind, we are at a cruise in 1 70 bpm. We're going really fast now. I haven't spent very much time explaining this double time halftime thing, so let me just take a second since this one was really easy and talk a little bit more about this. So why would we do this at halftime? Um, what does that actually mean? What's happening here is we could put this whole beat in. Check this out. I'm going to select everything I'm gonna shorten the, um, durations of all the notes. I can do that just with this, okay? I just scrunched everything together. So now my form, our pattern is just two bars. Okay, I could loop that and divide the tempo in half. So half of 17 is 170 is what? It's 85. So if I go down to 85 So now my tempo is half and my drums are twice as fast. It ought to sound exactly the same, right? It sounds exactly the same because, um, I've made it go. Half is I've made the drums go twice as fast, but I slowed the tempo down by the same amount, so it sounds the same. So now I have a two bar pattern instead of a four bar pattern. So what's the difference between those two? Why would you do one over the other? The reason that we so this might be called normal time and the other would be called halftime. So halftime is stretch everything out to be over more bars. Same A lot of stuff over more bars, which I can do despite clicking here, enabled him and then make it at a super fast tempo. The reason you would do one over the other half time versus normal time is that in this style of music, we have a lot of other elements that are moving pretty fast, like those high hats, right? If I was to put in those fast high hats when we were in normal time, I'd be going down in my grid to the 64th note, maybe even the 128th note. You know, I'd be like, really zooming in to get those. So if I stretch everything out farther and crank up my tempo and do halftime, then putting in all of that stuff is a little easier, right, because it just makes a lot more sense. I don't have to dive as deep into it because everything is twice as big as it would be otherwise. So those other musical elements are just a little bit easier to wrap your head around when you are looking at things in halftime versus normal time over. That makes sense. It's a little bit of a confusing little trick, but, um, there are certain genres where we're almost always looking at halftime. Um, the last two that we've looked at dub Step and Trap, being probably the best known of the two. Okay, let's move on and talk about dynamic effects. 36. Dynamic Effects: okay. In this next section, I want to talk a little bit about dynamic effects. Dynamic effects. What I'm talking about here is actually not really effects at all. Effects as kind of a weird worm. Ah, weird worm. No. A weird term for what we're talking about here by dynamics. What I mean is volume. Okay, So dynamics, Fancy word for volume. And I want to talk about in your beat Some things we can do with volume to give it a little more character. Things like ghost notes. That's really popular thing to do. Especially in these two genres that we've just looked at. Ah, we do have a lot of ghost notes, and it was kind of one in that last track. Um, noise risers. This is especially important in a drop section you might want. It's just some noise. Just Cem. Pure chaotic noise just rising up. Teoh help build to a drop. We'll talk a little bit about that. And then just adding a bunch of variation to some of your sounds that will help get you, ah, little more character into it. So let's dive in. Uh, let's start with ghost notes 37. Ghost Notes: Okay, let's go back to this trap Beat. Um, loop it. Let's just hear it one more time. Okay? Cool. Right. So I'm gonna add some ghost notes here. So what a ghost note is is it's really It's usually in the snare, and it's usually and it's kind of a snare trick. Weaken due to, um, give kind of a note before the main note. Usually it happens before sometimes after, but so let's go here. Let's get rid of that and put this here. Zoom way in. Do something like this. I'm gonna make to sneer heads right before that one, right? Okay, Not very interesting, but check it out. If I take the volume of these way, way down. And the 2nd 1 maybe a little bit less. Okay. Now it's here, right? It starts to give that cool kind of ramp up sound. Those are maybe even a little too. Yet he's, like, barely here at all. Not bad. So that's a ghost note. It's these notes that are just barely hear. You know, they're so quiet that you could barely hear him. These are actually quite loud, and I'm not sure why I'm not getting all the way down like those should be even quieter than they are. Um, this particular drum machine doesn't want me to get super quiet, but you can still hear how they're quieter than the notes around them. Right? Um so let's find another spot where we couldn't do it. Let's go back up here. Look at this beach, Okay, this is our This is our just our basic beat, right? But let's take Let's take that. Let's put one right before real quiet, right? You hear that? Let's do that out here so that you can hear it. Let's put it actually back a little bit, right? So it's a It's a subtle little thing. And drummers, real drummers. Humans do this all the time. You know, they like his real quiet note on the snare it before the big note, right? And it's totally common to do. You can also do it after this one will be really fast right after. It's not that interesting. Let's put it up here right? It's a little weird to do both. That's kind of cool. Um, I like him to be really close at this tempo. That's not really working slow down. Yeah, that's what I like. Something like that. Maybe even two of them. Those are ghost notes there. These little subtle pieces of flair that will help give your beat some nice extra variation . So remember those you got to get into the midi grid to really make him work? Um, you can also let's do one more thing with ghost notes. I don't know how well this is gonna work, but let's go out here. Let's see Here, Put it that that that. So I want, like, kind of a big little sneer rush here and then with these, I'm just going to you ramped them up a little bit something. I've got a big line of them that are kind of ramping up, right. It's kind of cool sound that is a bit inhuman, although some drummers could do things like that. Um, but those are all different kinds of ghosts notes. So play around with those. Add those to your beat. You'll get some really cool sounds out of it. 38. Noise Risers: Okay. Do I still have that brand? Pierre, I do this build up. Let's add kind of a noise riser to this. So I'm gonna make an audio track. Now, this is something that we do on these buildups a lot. So let's just hear this again. Right? So let's add some noise to that. You've heard this a 1,000,000 times. Now there's a ton of different ways you can do this. What we want basically, is a big swoosh sound. Okay, so this is kind of outside to beat, but it goes back to this buildup thing, Um, the swoosh that we wise pretty much noise, which is just that kind of a sound. But what we want to do is rampant right up into, um, the end of this pattern here. So there's a bunch of fun ways to do this. You can do it using a synth. You can do it using a filter. You can do it using a sample of white noise and then a filter and some volume dynamics. Uhm, I'm going to show you the super fast, easy way to do this. Here's what I'm gonna do. I'm gonna go to my samples look for an audio file of a drum of a Cymbal crash. That's pretty good. I'm gonna drop that in right about there. I'm gonna reverse it. You've seen this before, and then I'm going to slow it down quite a bit, So gonna make sure it ends right there. It's a little late that's chopped that off. There we go. Okay, so now I want to slow this down. So in some programs, you can just stretch this out. But I'm going to do is, uh I'm gonna go to my warp settings, and then I can, uh, make it twice as long. So play it twice as fast. We're sorry. Twice a slow, actually. Okay, so now it's twice as long. Let's just hear that. Cool. Um, if I want that to be able cleaner, let's do that. Go. Okay. Now we're gonna help that out a little bit. With some dynamics, I'm just gonna use the volume of the track. Right. So with this kind of a Cymbal crash, you don't need this all that much, but it can help to give you that extra little push. I wanted to ramp up all through here, and then I wanted to really flick up at the end. That's an important element to this kind of a thing. We put that right at the end, a little more there than if you can. We want Teoh Arc this like that. Okay, so it has this nice little whip at the end of it. Okay, so this Cymbal crashes. Basically noise. So by reversing it, I've basically dismayed. Ah, filtered, um, noise riser. Okay, so let's hear it. It's here with my drums here into this bill, right? It's not over the top, because this is so loud. But let's we could crank this up a little bit and volume if we wanted to probably clip theme, you know? Then we got this. We have this nice little Whippet, right? So it's cool Sound. So just using a little bit of volume with a little bit of curve right at the end that gets you that cool noise riser sound. And again, you can do this 100 foot ways. If you Google, how do I make a noise riser? You'll find people doing it literally 100 different ways, and they're all good. It's really just noise that you put a little ramp on, either with the filter or with volume or with both 39. Volume for Variation: Okay. Lets go back down to this one. I really think that. Okay, cool that. So last thing I want to talk about with these kind of dynamic effect is just giving variation two things right here. We've got all these high hats going crazy, and it's not a bad idea to just give it even if it's barely audible. Some subtle variation. Okay, so I'm going to go through. I just took him all down. I'm just gonna kind of randomly grab some of them to make it too much of a pattern. I'm going to move some of them up. There are some tools you can use that will randomize this for you. And those were just fine. You can do that, or you could just kind of manually go through and just try not to make too much of a pattern. I'm just clicking fairly randomly to make some stuff. Okay, let's hear this again. Just as a little more character to it. Don't be afraid of just getting in deep with these velocities on any of your beats. Even the snares that kicks, um, you know, get in there and really finesse where you want that note to be in terms of volume because that's what can really that's one of the things that can really separate. Ah, be that's just, uh, kind of sloppy from one that's really precise is if there's been attention paid to those velocities, so keep that in mind while you're working on your beats. 40. Coming Soon!: Okay, we have reached almost the end. Um, got a couple more things yet, but I just want to talk a little bit about what's gonna come next. So part three is gonna be coming soon. In part three, we're going to talk more about that Syncopation thing I talked about when we switched the grid over to triplets. Um, that is really powerful tool toe. Have an understanding how that works. Ah will be really important for making some of the other beats and some other styles. Uh, speaking of, we'll be talking about a bunch more styles of music, and we'll be getting a little bit deeper into sound design. That's one element that we've really kind of left off when it comes to drum programming is we need to be paying really close attention about to this sounds were using. So far, I've just been using samples and drum machines, and that's all great. And we can do that. But but it's always really important, obviously, to be paying attention to the specific sounds were using to really make our drum patterns really top notch. So stay tuned for that. That's going to be drum programming part three coming soon? Um, stick around for a couple more little things in this class. A couple more things for you, including discounts to part three and other stuff. So let's talk about that right now. 41. Wrap Up: All right, everyone, that is the end. Thanks for hanging out. Um, in the next segment, in the very last segment of this of this class, there will be info on how to get discount codes for, um the next class and all of my other classes, Um, and also how to get to work on earning those badges. If you don't know what I'm talking about. When it comes to the badges, check out the next segment. Um, and there's a link there to explain the badge system that we have going in my classes here . So check that out. And lastly, thanks for being a part of this class in all of my classes. Um, it's been a really thrilled Teoh have such a vibrant and lively student community seeing you all in the Facebook group, which you can learn more about in the next segment also, and just hearing from all the students all the time, it's just spend a real pleasure. And I make it sound like I'm about to stop doing that, which I'm not at all. We're only getting ramped up. There are many, many more classes to come from me. So I look forward to seeing you in those classes, seeing you in the Q and A in this class and any others sending me messages. I checked those every single day, and I go through all of the Q and A questions every single day. So, um, please post questions there and check out this stuff in the next segment and I'll see you in the next class. Thanks a bunch. 42. Bonus Lecture: Hey, everyone want to learn more about what I'm up to? You can sign up for my email list here, and if you do that, I'll let you know about when new courses are released and when I make additions or changes to courses you're already enrolled in. Also check out on this site. I post a lot of stuff there and I check into it every day. So please come hang out with me and one of those two places or both, and we'll see you there.